Love is a bourgeois construct

Love is a bourgeois construct


Pet shop boys – love is a bourgeois construct (audio)

The angry rioters have avenged the betrayed spirit of the festival with acts of vandalism perpetrated against the camp where the wealthiest attendees, such as Paris Hilton or Cara Delevingne, were staying. We do not know if the sin is to have gone too bourgeois or not to have reached the standard of the enlightened bourgeoisie that feels moral and legitimate owner of the festival.

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It would be if lesbianism were free of patriarchy. In any case, that’s what I think lesbians should talk about. I had a patriarchal relationship with a woman and I understood then how the structural works. Maybe with men we have clearer boundaries.

«Only we are capable of breaking these chains of exploitation on a sentimental, emotional and family level. We have to go one step further: we have to depatriarchalize feminism and relations between women. We have to stop asking men for what we sometimes do not do among ourselves. In feminism we are still immersed in power structures. Because of this, we are at war and we don’t know how to communicate. I am very afraid for feminism because we do not learn from nonviolent communication. I only speak freely in safe spaces, free of violence. I am not a professor. I don’t have an institution behind me. Only we are capable of breaking these chains of exploitation at the sentimental, emotional and family level. I hope we have the courage to recognize that within feminism there are hierarchies, there are power struggles, there are very bad people doing evil, destructive people, people hoarding resources. The key is self-criticism. Just as I ask men to make emotional self-criticism on an individual and collective level, we have to do it too.

Fangoria.- fiesta en el infierno. (2016. vinilo)

A*DESK lleva desde 2002 ofreciendo contenidos sobre crítica y arte contemporáneo. A*DESK se ha consolidado gracias a todos los que han creído en el proyecto, a todos los que nos han seguido, debatiendo, participando y colaborando. Muchas personas han colaborado con A*DESK, y siguen haciéndolo. Su esfuerzo, conocimiento y creencia en el proyecto es lo que lo hace crecer internacionalmente. En A*DESK también hemos generado trabajo para más de cien profesionales de la cultura, desde pequeñas colaboraciones con reseñas y clases, hasta colaboraciones más prolongadas e intensas.

En A*DESK creemos en la necesidad de un acceso libre y universal a la cultura y al conocimiento. Queremos seguir siendo independientes y estar abiertos a más ideas y opiniones. Si crees en A*DESK, necesitamos tu apoyo para poder continuar. Ahora puedes participar en el proyecto apoyándolo. Puedes elegir cuánto quieres aportar al proyecto.

Pero lo que merece destacarse de «Love is a Bourgeois Construct» es su referencialidad musical. Para cualquier melómano la primera escucha supone sumergirse en la memoria personal. Así, el riff que crece orgánicamente no es sino un fragmento del King Arthur del gran maestro barroco Henry Purcell (el más grande compositor británico de todos los tiempos). Esta melodía es más conocida colectivamente desde que el conocido compositor minimalista Michael Nyman la rehizo para la banda sonora de la película El contrato del dibujante (1982) de Peter Greenaway. De este modo, de un solo plumazo, PSB condensan en una melodía todo un bagaje cultural e histórico como síntoma de una creatividad retromaníaca donde todo es una versión de otra versión, donde el original nos es inalcanzable. Esta es nuestra cultura y en ella estamos.

Fangoria – fiesta en el infierno (official videoclip)

This article comes from a work that aims to identify the mechanisms that contribute to the construction of romantic love. To achieve this objective, the theoretical approach to the notions of love is taken as a starting point to locate the elements belonging to the representation of romantic love, based mainly on the historical configuration of this phenomenon, as well as the myths that have served as elements of justification in the romantic model. In accordance with the theoretical elements of the phenomenon, the gender perspective was used as a tool of analysis, integrating it to the theoretical review of the gender category, as well as of the patriarchal institution, with the purpose of obtaining an intersection between the concepts of romantic love and patriarchy. As a result of this analysis, the following categories were delimited: the patriarchal family, motherhood, romantic myths and the romantic ideal, considered as the mechanisms that allow the construction of love.